However, a plant responds to and connects in a very different way (through the process of photosynthesis), and at a very different "speed" than does the human eye.
Conversation
Instead, temporality becomes not only integral to music, but music becomes integral to the formation and interpretation of time. Music, through altering the time of recorded sound, demonstrates how the deterritorialising of the refrain can fabricate new images of time
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Milieus and rhythms are in turn the elements from which territories are formed. A milieu is a "coded block of space-time" only ever provisionally stable in terms of its periodic repetitions. Despite its codification, a milieu is not in stasis, but rather in a continual change.
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The human body. Its various components - the heart, lungs, brain, nerves, etc may be viewed as so many milieus, each with its own rate of periodic repetition. The rhythms of the body, however, take place between the various milieus, the heart's regular measure etc
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In a sense the heart's periodic repetition produces rhythm, but not by reproducing an identical measure and not in isolation from other milieus. Its regular meter is a vital pulse, not a reproduction of the same.
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In other words, music can break down the forces that are integral to creating territories. The refrain is not the origin of music, but rather a means of warding off music's explorations through its stabilising influence.
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Music can act like an instrument of time, or a time machine. We have developed the ability to use memory to consider and predict; to "slow down" thought, and act according to our past experiences. We tend to frace our perceptions back to a proper form of time representation.
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The task of the classical artist is that of God himself, to organize chaos by distorting time perception. Musical time is notated with remarkable imprecision and ambiguity. Composers rely upon qualitative rather than quantitative directives to inform performers of intended tempo
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And if the vagaries of such terms as Adagietto (somewhat slow), or Lentissimo (slower than slow) are not ambiguous enough, terms such as Allegro ma non troppo (fast, but not too fast), oblige the performer to imagine temporality from the composer's perspective through guesswork.
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While the manipulation of perceptual time is a pervasive aspect of music, particular composers, including Anton Bruckner, famous for his hour-plus symphonies, and Olivier Messiaen, took the warping of subjective time to extremes.
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Replying to
11th plateau "The Refrain" in Gilles Deleuze and Felix Guattari, A Thousand Plateaus. The concluding chapters of Gilles Deleuze and Felix Guattari, What Is Philosophy? 163-199. In particular, see Gilles Deleuze, "Boulez, Proust and Time: 'Occupying without Counting 69-74 etc
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